Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. If you continue browsing the site, you agree to the use of cookies on this website. See our User Agreement and Privacy Policy.

Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. If you continue browsing the site, you agree to the use of cookies on this website. See our Privacy Policy and User Agreement for details.

Automatic Audio in Frostbite

Walkthrough of the key Audio Technologies used in Frostbite; HDR Audio, Master Unit and the modular design. An in-depth sound design discussion for Battlefield: Bad Company covering both the sandboxed multiplayer and the story driven single-player

I have a question about the automatic mixing. Is their audio filtering or equalizing done by the HDR system as well as dynamic adjustments? It seems to me that my ears are so less fatigued over play time of BC2 compared to say Modern Warfare 2. I get the sense that the less important sounds are not only dropped in terms of gain, but also in its frequency content. If not, then it is a very welcome side effect to my ears.

I would love to hear greater details about what the HDR audio system is really doing, but I understand only so much will be discussed publicly. Keep up the great audio work, its nothing short of impressive.

40 to 74 minutes like a music album, around 100 minutes like a movie Or considerably longer

Spent time on each second in movie A 3 minute song can be mixed for a week But our games are 10000 years long? How much time can you spend on that?

DICE’s game engine Frostbite™ Tight s ystem integration, a udio one of the core comp onents Destruction integral part of the engine Developed for Battlefield: Bad Company™and to be used by future projects at DICE

HDR Automation on most used interactions

What do you wanna do? there are so many things that I initially thoght we would do..but then you need to boil down to top 3 vital areas that needs the majority attention and maybe new technology. Note : these are not key features, they focus areas

You Can&apos;t Do Everything. Underestimated VO but the time spent should be according to your games major components. Naturally. Key Experiences of game = Resources in the right areas

By knowing what style you want to create

Ca 83 million kills (2142) It still amazes me that after knowing this ? Games are still being made as if this was not true! And we made this aswell, until now. The Brain want’s to track repetition!

You gather reference of course, don’t we all.

Its not just A SOUND for AN ASSET in the game

The audio/firing experience is very diverse…and complex Some people bewildered Some people get happy. IN either case – its very DIVERSE

This is how our design looks in the Frostbite editor You cannot underestimate the importance of key-features going hand in hand with your tech dev.

In sense, this is exactly what we’ve created We’ve built away repetition and created something that automaticly designs itself from the ingame conditions Yes we still need to do kick-ass content but thats not the point.

We’ve been at ” PLAY –FILE ” for to long.

So what about ”style”? Again, I think audio people are less skilled when it comes to describe what they are doing. At least when you compare to Art. – But shouldn’t it be the other way around?

These things means different things to different people but are vital to deepen our dialogue of soundscapes and direction Art Directors are usually a lot better at communicating like this You don’t have to agree, in fact it’s probably better if you don’t.

By changing words you open up your mind and consider different meanings

Ingame video captures Not about good or bad

Began to be able to compete with movie output Play the right sounds, not all of them. Not all of the time.

It’s not about good or bad Its making up your mind – making a choice, -and somewhat stick to it. Knowing what you want to make. - just don’t say ”cinematic” –because then you need to sound like ” every movie ever made ” In Bad Companys case, ”its noisy, a little bit messy, embracing the distorted ”

In contrast to our previous games … Which inevitably lead to a deaper discussion of style

The parts dictate the whole Usually, or at least for us, this was the way we worked on previous titles. It’s not bad, its just not thought through. The vision builds upon the assets. The individual assets were the golden nuggets that should contribute to babylon If we had the perfect recording, everything will just come together in the end sounding ”good”

The whole dictate the parts The importance of unity and consistency Builds believability to the audio world of your game